Vodič za studentska djela
Autorska prava Ovo djelo je u javnom vlasništvu. Samuel Drummond preminuo/la je 1844.; autorska prava traju 70 godina nakon smrti umjetnika, stoga su prestala u 1914.
U kontekstu
Repulsing a Boarding Party — Samuel Drummond
Originalne dimenzije su 54 × 43 cm (visina × širina), prikazane ovdje pored odrasle osobe prosječne visine.
Gornji red: godine. Donji red: dob umjetnika na početku i na kraju svakog razdoblja — 0 u rođenju, 78 u smrti.
Naslikano u 39 godini života umjetnika. Umjetnik je doživio 78. 4 od ukupno 30 datiranih djela ovog umjetnika u našem katalogu nastala je ranije.
Shaded: životni opus Samuel Drummond (1766–1844) ▲ ovo djelo, 1805 svaka datirana slika, desetljeće po desetljeće
Prva djela: do 1806 Glavni radni period: 1806–1825 Kasna djela: od 1825
Ta tri dijela dijele djela koja u ovom katalogu imaju navedenu godinu na prvu četvrtinu, srednju polovinu i posljednju četvrtinu. Ona ne predstavljaju cjelokupni umjetnikov opus: rjeđi segment može biti praznina u arhivu, a ne samo mirnije razdoblje. Iste godine u kojima se isprepliću i događaji iz umjetnikovog života
Odaberite jedno od gore navedenih djela: navedite dvije zajedničke značajke s ovim djelom i jednu koja ih razlikuje.
Još djela koja se mogu postaviti uz ovo: topimpressionists.com/hr/art/similar/samuel-drummond-repulsing-a-boarding-party-AQSDSP-en/
Izmjereno na temelju slike
Glavna boja
Walnut #66441b
Katalogirana paleta
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Deset vodećih zemalja
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Zajedno ova djela zauzimaju 100,0% ukupne pažnje koju su slike ovog umjetnika primile tijekom posljednjih dvanaest mjeseci. Katalog sadrži 40 djela ovog umjetnika, od kojih je 12 pregledano barem jednom. Ova je slika na 8 mjestu, s 4,8% te pažnje (100 posjeta). Isto vrijedi i za pojedine mjesece
Trake mjere pažnju, ne i kvalitetu. Odaberite djelo na vrhu i ovo sljedeće: navedite jednu stvar koja bi sliku mogla učiniti slavnom, neovisno o tome koliko je dobro naslikana.
Umjetnik i muzej
Before he ever held a brush in a London studio, Samuel Drummond knew the rhythm of the Baltic trade routes. At thirteen, his world was defined by the salt and wood of ships, spending six or seven years in the sea service. This early time on the water left its mark on his later work, where the movement of waves and the weight of naval history became central themes. After leaving the navy, he worked briefly as a clerk, but the pull of the Royal Academy Schools in 1791 eventually led him away from ledgers and back to the visual arts.
His training began with crayons and oil, a path that saw him exhibit over three hundred works at the Royal Academy. He moved through the ranks of the artistic community, becoming an associate of both the Royal Academy and the British Institution by 1808. His hands were accustomed to the precision required for portraits, yet he found a particular gravity in larger oil paintings that documented the maritime history of the United Kingdom.
Drummond had a way of rendering a likeness with speed, a quality that brought him frequent commissions. He sat many notable figures before him, capturing the presence of people such as Walter Scott, Elizabeth Fry, and Marc Isambard Brunel. His work for The European Magazine under James Asperne allowed him to document the leading personalities of the day, including Sir John Soane and Friedrich Accum. In these portraits, one can see a focus on the textures of clothing—the crispness of a white collar or the heavy drape of a coat—and the steady gaze of the sitter.
Beyond the individual portrait, his attention turned to the sea. He used oil on canvas to capture the chaos and weight of naval conflict. His paintings often focused on specific historical moments, such as:
The Battle of the Nile, 1st August 1798
Captain William Rogers Capturing the Jeune Richard, 1 October 1807
Admiral Duncan at the Battle of Camperdown, 11 October 1797
The Death of Nelson
In these maritime scenes, the brushwork carries the energy of a naval clash. He documented the death of Admiral Horatio Nelson through several works, including a scene on the deck of HMS Victory, where the focus remains on the gathered crowd and the heavy atmosphere of the moment.
The practice of painting was a shared language within his household. Drummond’s life was marked by three marriages, and the creative impulse seemed to pass directly to his children. His daughters, including Rose Emma, Ellen, Eliza Ann, Jane, Rose Hudson, and Rosa Myra, all became artists themselves. Rose Emma, in particular, found her own way as a portrait miniaturist, known for her depictions of theatre actresses.
Despite the professional success of his children and his own standing within the Royal Academy, the later years brought financial difficulties. He often relied on support from the funds of the Royal Academy to sustain his craft until his death in London in 1844. His legacy remains held in collections such as the National Portrait Gallery, the National Maritime Museum, and the Walker Art Gallery.
topimpressionists.com/hr/art/download/samuel-drummond-repulsing-a-boarding-party-AQSDSP-en/
Pogledajte pažljivije
Repulsing a Boarding Party — Samuel Drummond
Odgovorite vlastitim riječima. Ovdje nema netočnih odgovora — postoje samo odgovori koje možete objasniti.
Napišite kratki odlomak o ovom umjetničkom djelu koristeći činjenice iz prethodnih dijelova ovog vodiča te svoje ranije odgovore.
Preuzimanje je dostupno za "Repulsing a Boarding Party": na stranici Preuzimanje digitalne slike ovog umjetninog djela možete pronaći preuzimanje digitalne slike visoke rezolucije.
"Repulsing a Boarding Party" autora Samuel Drummond prikazuje Strong Color Unity kolorističku harmoniju.
Ochre to Sepia nijansa prožima "Repulsing a Boarding Party" autora Samuel Drummond.